Tom Evans

The HPA Awards is looking for peer judges for the following Creative Categories: Color Grading, Sound Post, Editing, and Visual Effects in Features, Television, and Commercials. HPA and SMPTE members with expertise in one of these areas are invited to volunteer for the following judging sessions: Color Grading: Either Wednesday, August 23rd or Thursday, August 24th 5:45p - 11:00p (approximate) EFILM 1146 N Las Palmas Ave. Hollywood, CA 90038 Sound: 2 Sessions during the week of August 14th (You can volunteer for one or both judging sessions – pre-judging and final judging) Sony Pictures Entertainment Thalberg Screening Rooms 10202 West Washington Blvd., Culver City, CA 90232 Visual Effects: Date TBD in late August 6:00p - 11:00p (approximate) FuseFX 14823 Califa St. Los Angeles, CA 91411 Editing: Judged in home via a secure online viewing platform. Judges will be asked to pre-judge a pool of television entries as well as complete final judging for films, television and commercials. We ask the following of all judges: A judge must be a full-time production or post production professional with expertise in the category that they are judging. Be available to participate in the full judging session for whichever category you volunteer for. Please note all judging session times are subject to change. To learn more about the criteria for HPA Awards creative categories, please visit our website at www.hpaawards.net, call the office at +1 213 614 0860 or email info@hpaawards.net. Interested judging volunteers should contact mrossi@hpaonline.com with their name, job title, company if applicable, e-mail address, cell phone or other contact number, an imdb link or credits list to rule out conflict of interest and the category(ies) they are interested in judging. If you are an expert in any one of these categories, please volunteer to contribute your knowledge and time to these important awards. If you are interested in judging some of the best post production work in your industry, please respond no later than Friday, August 4, 2017. Please feel free to pass this invitation on to colleagues who you feel would be appropriate judges, you can also send us their contact information, and we will send out a personal judging invitation. Thank you, The Awards Committee www.hpaawards.net info@hpaawards.net +1 213 614 0860

Deluxis is looking for a Post DI /VFX Producer in NYC. Previous DI Post producing experience is preferred, but experience in VFX producing is also encouraged to apply. Local candidates with work authorization only. Howard.Lin@bydeluxe.com

Would be fun to see the ad when it's done!

Does any of you have any experience with Post Haute or the other programs by https://www.digitalrebellion.com/?

If you want to adjust the attributes by points like in Houdini you should look at the 3dlut creator app.

It's a thread about the difference between a DCI P3 monitor and a projector here

I have some really old rolls with s16mm Tri-X film that I want to scan. Any open Labs that can help me with this near Burbank the last week in July?

Commercial Color Assistant Deluxe / Santa Monica Job No. 17-0623 Goal Overview To prepare and deliver color projects as well as assist the artists. COLOR ASSISTANT RESPONSIBILITIES Preparations for Projects/Sessions • Set up project folder structure on the color SAN. • Ensure all prep is downloaded and up to date. • Ensure all lists and references are properly formatted. Notify production coordinator of any issues. • Ensure all required elements are present and if not notifying the CO3 producer immediately prior to 6pm and the client if after 6pm. • Ensure all elements are properly labeled. • Communicate with the production coordinators any issues that may arise with elements [hard dive power supply, hard drive failure..] • Create Master List as well as Scan, Conversion, Trim, Ingest, and Sync EDLs. • Transcode, trim, and import sources files based off client EDL(s). • Conform imported, transcode, scanned, and or trimmed files to client provided EDL(s). • Quality check the conform timelines to client supplied reference to insure that all material is accounted for. • Ensure all client request are accounted for such as handles, mattes, and color references. • Ensure all project settings are set to the defined department standard. • Flag and contact night coordinator on any shots that do not line up to the reference. • Flag and contact night coordinator on any shots that are not delivered in the correct color space. • Color-trace project per work order requests. • Add previous session stills per work order requests. • Update production coordinators on any prep issues or spec changes. Execution of Job • Set up room 15 minutes prior to session start per session requirements. • Check project for issues and playback performance prior to session start and client arrival. • Converse with the artist and greet the clients when job begins. • Keep in communications with production coordinator on any outstanding footage needed to complete the project. • Communicate to artist all project details necessary for the artist to execute the project. • Confirm the details of the laydown requirements, etc with clients. • Send out stills and/or color ref QT to clients per artist request. • Monitor the progress of a session, keeping the production coordinator up dated on its status. • Communicate any machine downtime to the producer, production coordinator and engineering. • Ensure artist added their color time to the work order. • Prep and add any pick up shots for the session. • Ensure hero stills are updated and grabbed for all timelines • Update the production coordinator team with any spec and or delivery changes. Final Delivery • Communicate with the production coordinator on any additional request made by the clients in the bay. • Render/Record graded project per specs given by the client and/or work order. • Label graded elements clearly to indicate what material has been graded. Include alternate passes and resizes. • Quality checking all graded and raw material for any missing material or corruption. • Creating XML, AAF, and/or EDLs from graded session. • Exporting graded and/or raw material to requested media storage format. • Quality check all exports to ensure that all material is accounted for on the requested storage format and is free of any corruption. • Update production coordinators on any cut-offs in jeopardy of being missed. • Contact vault once elements are ready for shipping. • Update producer and vault on any shipping updates. Final Billing • Ensure all work orders are legibly filled out with set-up, color, and render/laydown time. Communications • Touch base with production coordinator before leaving shift for handoff notes, etc. • Update producers and coordinators all relevant information for all aspects of the project; Prep and Post. • Generating Night Report with the status of the current days sessions and the following days sessions. • E-mailing Stefan shot count to shot count alias at end of night. Engineering • Reporting all system repair needs via the EMR system. For urgent matters immediately contact the production coordinator(s). • Keep production up-to-date on the status of any situation that directly affects the session and or is deliveries. Requirements / Background • Knowledge of digital capture cameras and files • Background and/or knowledge of offline editing • Avid and/or FCP experience • File based workflow experience • Knowledge of mobile storage devices and formats • BlackMagic Resolve and/or other color correction software experience a plus Miscellaneous • REPORTS TO: Head of Production | Short Form https://rn21.ultipro.com/DEL1005/JobBoard/JobDetails.aspx?__ID=*FA5751F49B15B896

Prelight & Prelight ON-SET 4.4m1 are now available to buy or try from the FilmLight web store: www.filmlight.ltd.uk/prelight Get the ultimate in interactive colour correction right from the start of your production. Purchase now and you’ll get a free upgrade to 5.0 as soon as it becomes available.

Shed Santa Monica, CA Posted: July 5, 2017 Freelance Job We currently have an opening for a Feature Dailies Operator. Responsibilities: • Operating Dailies Systems for various Dailies projects. • Having a basic knowledge of Color Correction. • Tagging/ Logging scene metadata, pre-syncing audio. • Knowledge of Avid editorial software. • Prepping of Avid media for delivery to Editorial. • An understanding of various codecs and their specified purposes. • Transcoding files. • Perform quality control procedures. • Archiving & Verifying of LTO elements. • Prepare materials for shipping correctly and carefully, including labeling. • Keeping accurate session notes and maintaining Google Docs. • May be required to attend pre-production meetings with clients and staff. • Willing to do some training. Qualifications: • Must have good communication skills both oral and written. • Ability to have good working relationships with clients and staff. • Must have strong problems solving skills and ability to manage workload and meet deadlines. • Must be able to multi-task. • Must be able to work rotating shifts, graveyard shifts, and weekends. • Possible travel out of state/country. • This position is eligible for overtime. http://www.entertainmentcareers.net/Shed/Dailies-Operator/job/236249/

I did export an AAF from Avid but when importing it into DR14, it links to the DNxHD36 files in the Avid MediaFiles folder and not the Alexa files. How can I fix this?

The black flickering appears when I playback footage on my other projects where I have used LUTs in the node three as well. The flickering is so prominant that it's probably more black frames than video frames.

When applying a 3D LUT in the DR14 Beta it flashed black everytime I do any adjustment. This is extremely annoying, have you had any similar experience? Any fix for this?

How can I get best speed/performance by optimizing the software? Under Video I/O and GPU I have different options and what to choose on the PGU processing mode? Any other sofware related options that can optimize speed especially for Alexa footage?

And what is the difference between the different versions of the GTX, EVGA's?

Nurali, you seem like a great guy - keep up the good work!

Most resellers I've been talking to pushes XEON because that's the pro line and what they trust. That said, it seems like you have done your homework so I will have to look further into this. Thank you Margus. Do you recommend the GTX-1080, EVGA?

XEON is pro technology, and i3/5/7 is toy technology made for gamers and grandmothers. Even the new iMac Pro that's scheduled in December comes with XEON.

Agree, would be great if we all could build up the tutorial section here when we have some extra time. I like to browse them from time to time.

I have migrated to the PC Z-series a long time ago, but it's still a bit fun to follow the Apple News, and today they launched their new iMac Pro. Doesn't seem like a game-changer to me, but what do you thing? http://www.cio-today.com/article/index.php?story_id=01200000R3B0

Well done @Nikola Stefanovic! The exposure control is extremely good throughout the whole ad, each scene got a great color contrast and the general balance is overall good considering it jumps between various locations, ext. internal shots and time of day.

By far the best review I've read in a while. Very interesting to read about the 'Flare' parameter. I have my ways to deal with backlighting and optical reactions but I'm looking forward to have a closer look at this.

Just want to let you know about a software I found online called LUTcalc. Don't know if you can use it to anything useful https://cameramanben.github.io/LUTCalc/

Thank you Bruno, can't appreciate enough your contribution to this forum!